Almost incredible sums are paid for stones; for trees, that are wonderfully transplanted, even when of great size; for dwarf plants, for flower-pots, for particularly choice Chrysanthemums; for specimen Irises; for beautifully designed stone lanterns or bridges, or well-covers, or pagodas. A New York millionaire’s trained architect or decorator could not more carefully consider and compare all the little details of ornament and design of the house, the appropriateness as to period and colour and make of the pictures, furniture, rugs, and bibelots with which he adorns it, than would a Japanese for his garden. Yet it is not this monetary value that makes their worth, but their appropriateness to the general scheme, the harmony each separate note brings to the whole. That may be valuable to one man which is worthless to another, and the priceless ornament useless to the owner of a simple garden.
In the Tempo Period (1830 to 1844) such great sums were spent on stones that an Imperial Edict was issued, restricting the amount that might be paid. Venice, in her opulent days, gave no greater sums for gold-decked gondolas; and Holland, in spite of her thrift and her riches, was not so extravagant in the sums spent on Tulips as were the Japanese noblemen with their specimen Chrysanthemums, their Morning Glories, their Irises, and their garden stones. To this day no foreigner will pay what they will
